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Orchestral Suite No 3 in D major, BWV1068

Introduction

The Suite No 3 in D major, BWV1068, is probably Bach’s earliest ensemble suite with a French overture, although we have no evidence to indicate—as has often been stated—that any of these works was composed before Bach’s arrival in Leipzig late in May 1723. Somehow this work, originally tender and intimate in its address, seems to have been transformed totally through the addition of the brass and drum choir, even though this has been very cunningly done; an ingenious detail is the change from repeated notes to rising arpeggio in the first trumpet part at the return to the opening metre in the overture movement. Easily the most famous movement here is the exquisite quartet movement which forms the air; the wonderful thing is the way in which Bach turns a number of commonplace techniques (for example, the ‘striding bass’) to magical effect by his exact manner of combining them; there are beautiful moments in all of the parts. The only pair of alternating movements here are the gavottes, which somehow have a pastoral character before the brass are added, and a hunting style with the trumpets and drums. In courts influenced by French taste, the gavotte would be almost as much of a favourite as the minuet. The bourrée seems to demand a performing speed that is even faster than usual; this movement is another where the trumpet and drum contributions have been very discreetly added, so as nimbly to punctuate or to emphasize the thematic character of the dance. The final gigue is something of a swaggering affair, possibly also intended as a hunting movement. Its style is not that distant from that of the rondo themes of the hunting-finales with which Mozart would, over sixty years later, adorn his horn concertos.

Recordings

'This new Dyad set now takes pride of place among currently available period performances of these works' (Gramophone)'Captivating performances, stylistically informed, affectionate and spirited. Wholeheartedly recommended' (Gramophone)» More

From Wilhelm Kempff’s subtle resetting of Wachet Auf to Ferruccio Busoni’s virtuosic grandeur in the Violin Partita Chaconne, these performances by universally praised pianist Alessio Bax capture the reverence and resplendence of Bach’s music in t ...» More

'Milne plays the more outgoing works with the sharp articulation and gestural clarity that makes his Medtner so refreshing (his left-hand profile is e ...'This is a welcome return to the recording studio for a British pianist who has maintained a consistently high standard for many years. Hamish Milne i ...» More

'This disc deserves to go to the top of the charts' (Early Music Review)'Fine performances from the Brandenburg Consort, excellent documentation. A good CD to start a Baroque collection' (Classic CD)» More

Unlike the beautiful dedication manuscript of the Brandenburg Concertos, no autograph score survives of the Orchestral Suites. For this work the most reliable source is a set of parts dating from 1730/1, probably prepared for performance by the Leipzig Collegium Musicum in their Friday evening series at the Zimmermann Coffee House. The parts were copied by Bach, his son Carl Philipp Emanuel and Johann Krebs, and it seems clear that this Air (and the concertato passages in the first movement) was intended to be played by a solo violin. The nickname ‘Air on the G string’ derives from an arrangement for violin and piano by the German violinist August Wilhelm (1845–1908) in 1871. He transposed the music down a tone so that the melody can be played entirely on the lowest (G) string.

Alexander Siloti (1863-1945) was a pupil of Liszt, famous for his transcription of Bach’s E minor Prelude (or rather made famous by Emil Gilels who invariably offered it as a valedictory encore at the close of his recitals) and infamous for his scissors-and-paste job on Tchaikovsky’s Second Piano Concerto. And his way with the Air from the Orchestra Suite No 3 in D major, the Andante from the Violin Sonata No 2 in A minor and the Siciliano from the Flute Sonata in E flat major is altogether more effortless and transparent, aiming for simplicity rather than elaboration.